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Mahler: Symphonies Nos. 1-10 Hybrid SACD, Box set

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Product details

  • Orchestra: Tonhalle Orchestra Zurich
  • Conductor: David Zinman
  • Composer: Gustav Mahler
  • Audio CD (11 April 2011)
  • SPARS Code: DDD
  • Number of Discs: 16
  • Format: Hybrid SACD, Box set
  • Label: RCA Red Seal
  • ASIN: B0045TN2MK
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 230,446 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. I. Langsam. Schleppend. Wie ein Naturlaut. - Immer sehr gemächlich.
  2. II. Kräftig bewegt, doch nicht zu schnell. - Trio. Recht gemächlich.
  3. III. Feierlich und gemessen, ohne zu schleppen.
  4. IV. Stürmisch bewegt.
  5. Blumine (Andante allegretto)

Disc: 2

  1. I. Allegro maestoso - Mit durchaus ernstem und feierlichem Ausdruck

Disc: 3

  1. II. Andante moderato - Sehr gemächlich - Nie eilen
  2. III. In ruhig fliessender Bewegung - Sehr gemächlich, nicht eilen
  3. IV. Urlicht: "O, Röschen rot! Der Mensch liegt in grösster Not!" Sehr feierlich, aber schlicht, nicht schleppen - Schweizer Kammerchor
  4. V. Im Tempo des Scherzos - Schweizer Kammerchor

Disc: 4

  1. I. Kräftig. Entschieden - Langsam. Schwer - Tempo I - A tempo - Immer dasselbe Tempo (Marsch) - (Allegro moderato) - Tempo I

Disc: 5

  1. II. Tempo di Menuetto. Sehr mäßig - L'istesso tempo - A tempo - L'istesso tempo. Nicht schleppen - Ganz plötzlich gemächlich. Tempo di Menuetto
  2. III. Comodo. Scherzando. Ohne Hast - Wieder sehr gemächlich, wie zu Anfang - Sehr gemächlich (Wie die Weise eines Posthorns) - Tempo I - Wieder sehr gemächlich, beinahe langsam
  3. IV. Sehr langsam - Misterioso. Durchaus ppp - Più mosso subito - Schweizer Kammerchor, Zürcher Sängerknaben
  4. V. Lustig im Tempo und keck im Ausdruck - Schweizer Kammerchor, Zürcher Sängerknaben
  5. VI. Langsam. Ruhevoll. Empfunden - Nicht mehr so breit - Tempo I. Ruhevoll - A tempo (Etwas bewegter) - Tempo I - Langsam. Tempo I

Disc: 6

  1. I. Bedächtig. Nicht eilen
  2. II. In gemächlicher Bewegung
  3. III. Ruhevoll
  4. IV. Sehr behaglich

Disc: 7

  1. I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
  2. II. Stürmisch bewegt. Mit größter Vehemenz
  3. III. Scherzo, Kräftig, nicht zu schnell
  4. IV. Adagietto, Sehr langsam
  5. V. Rondo-Finale. Allegro

Disc: 8

  1. I. Allegro energico, ma non troppo - Tonhalle Orchestra Zurich

Disc: 9

  1. II. Andante moderato - Tonhalle Orchestra Zurich
  2. III. Scherzo: Wuchtig - Tonhalle Orchestra Zurich
  3. IV. Finale: Allegro moderato - Tonhalle Orchestra Zurich

Disc: 10

  1. I. Langsam ? Allegro risoluto, ma non troppo
  2. II. Nachtmusik I. Allegro moderato
  3. III. Scherzo. Schattenhaft
  4. IV. Nachtmusik II. Andante amoroso
  5. V. Rondo, Finale. Allegro ordinario

Disc: 11

  1. Part I: Veni, creator spiritus - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  2. Imple, superna gratia - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  3. Infirma nostri corporis - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  4. Tempo I (Allegro, etwas hastig)
  5. Infirma nostri corporis (Sehr fliessend)
  6. Accende lumen sensibus - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn
  7. Veni, creator spiritus - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn
  8. Gloria sit Patri Domino - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben

Disc: 12

  1. Part II: Final Scene from "Faust II" - Poco adagio
  2. Pìu mosso (Allegro moderato)
  3. Chor und Echo: Waldung, sie schwankt heran - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  4. Pater ecstaticus: Ewiger Wonnebrand
  5. Pater profundus: Wie Felsenabgrund mir zu Füßen
  6. Chor der Engel: Gerettet ist das edle Glied der Geisterwelt vom Bösen - Chor seliger Knaben: Hände verschlinget euch - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  7. Die jüngeren Engel: Jene Rosen aus den Händen - Schweizer Kammerchor
  8. Die vollendeteren Engel: Uns bleibt ein Erdenrest - Schweizer Kammerchor, WDR Rundfunkchor Köln
  9. Die jüngeren Engel: Ich spür' soeben, nebelnd um Felsenhöh - Chor seliger Knaben: Freudig empfangen wir - Doctor Marianus: Hier ist die Aussicht frei - Schweizer Kammerchor, Zürcher Sängerknaben
  10. Doctor Marianus: Höchste Herrscherin der Welt! - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  11. ChorI/II: Dir, der Unberührbaren - Chor der Büßerinnen und Una poenitentium: Du schwebst zu Höhen der ewigen Reiche - Schweizer Kammerchor, WDR Rundfunkchor Köln
  12. Magna Peccatrix: Bei der Liebe, die den Füßen - Mulier Samaritana: Bei dem Bronn, zu dem schon weiland - Maria Aegyptiaca: Bei dem hochgeweihten Orte
  13. Una poenitentium: Neige, du Ohnegleiche
  14. Selige Knaben: Er überwächst uns schon; Una poenitentium: Vom edlen Geisterchor umgeben - Zürcher Sängerknaben
  15. Mater gloriosa: Komm! Hebe dich zu höhern Sphären - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben
  16. Blicket auf - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn
  17. Alles Vergängliche ist nur ein Gleichnis - Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn

Disc: 13

  1. I. Andante comodo
  2. II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
  3. III. Rondo-Burleske: Allegro assai. Sehr trotzig

Disc: 14

  1. IV. Adagio (sehr langsam)

Disc: 15

  1. I. Adagio: Andante - Adagio
  2. II. Scherzo I: In gemächlicher Bewegung. Ohne Hast
  3. III. Purgatorio: Unheimlich bewegt
  4. IV. Scherzo II: Kräftig, nicht zu schnell
  5. V. Finale. Langsam - Allegro moderato - Andante comodo, aber nicht schleppend

Disc: 16

  1. The Concert Starts / Konzertbeginn - Tonhalle Orchestra Zurich
  2. About the 6th Symphony / Über die 6. Symphonie - Tonhalle Orchestra Zurich
  3. Rehearsals 1st Movement / Proben 1. Satz - Tonhalle Orchestra Zurich
  4. Alma-Theme / Alma-Thema - Tonhalle Orchestra Zurich
  5. About Conducting / Über das Dirigieren - Tonhalle Orchestra Zurich
  6. About the Tonhalle-Orchestra / Über das Tonhalle-Orchester - Tonhalle Orchestra Zurich
  7. About Gustav Mahler / Über Gustav Mahler - Tonhalle Orchestra Zurich
  8. Andante Moderato - Tonhalle Orchestra Zurich
  9. Scherzo - Tonhalle Orchestra Zurich
  10. Finale, Part 1 / Finale, Teil 1 - Tonhalle Orchestra Zurich
  11. Hammer Blow / Hammerschlag - Tonhalle Orchestra Zurich
  12. CD-Recordings / CD-Aufnahmen - Tonhalle Orchestra Zurich
  13. Finale, Part 2 / Finale, Teil 2 - Tonhalle Orchestra Zurich
  14. Credits / Abspann - Tonhalle Orchestra Zurich

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Zinman - as the additional DVD demonstrates through the rehearsals and recordings of the 6th - has clearly studied Mahler, with Alma, as well as the music. I've heard the Tonhalle do the 1st, 4th and 5th live (the 4th under Haitink), and it is a rare treat in that classic hall. But I've not experienced the rest by them, until now. Having Anna Larson in both the 2nd and 8th is simply a gift from god, as, of course, are all of Mahler's symphonies.

To analyse them all here would be to attempt to emulate Tony Duggan, whose great 'synoptic survey' and passing away came before the release of this 10 full-symphony (i.e. complete 10th [Carpenter, not Cooke], plus Blumine, but not Lied von der Erde) set of 2011. How many of these Zinman interpretations - with what is quite a conservative, restrained orchestra, even under Zinman's exhortations for greater modulation - would you choose to be in that much esteemed list? How could Zinman's 2nd compete with Rattle's superlative BPO live perfection of October 2010 with Kate Royal and his partner? Or Bernstein's uniquely paced 2nd of 1987/8 with Ludwig & Hendricks? Well, Larsson, for one. Or his 1st with the classic Bruno Walter and the Columbia? Or indeed, any of them with Abbado's 1995 collection or his '00s series with the Luzern Festival Orchestra.? How do they compare with what I consider the benchmark Haitink/Concertgebouw set of '60s/'70s Philips recordings (set released 1994)?

Well, there are many similar questions that listening to any interpretation of Mahler inevitably raises, among the thousands of moments of phrasing, tempo, depth, colour, (and sometimes sheer noise), let alone choice of guesting artiste. But there's one thing they all have in common: with any symphony of Mahler, no matter who is giving of their best (ref.
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Rather polite Mahler which leaves one somewhat underwhelmed - neither shaken nor stirred. No threat to Bernstein's dominance... Excellent presentation and superb sound quality.
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Amazon.com: 4.3 out of 5 stars 7 reviews
25 of 26 people found the following review helpful
5.0 out of 5 stars The only COMPLETE Mahler symphonies - and on SACD! 9 Nov. 2011
By A Customer - Published on Amazon.com
Format: Audio CD Verified Purchase
I must confess to being a Mahler fanatic, and although I have many Mahler recordings, this is only my second complete set. And it really is the ONLY complete set, as it contains a completed performing version of the 10th, and the five-movement (Blumine) version of the first. Additionally, an informative DVD is included. But when you can purchase cheaper sets of older recordings, which are usually a mixture of conductors and orchestras, even with these added riches, is it worth buying?

Well, Mahler fanatics are like Wagner fanatics, organ fanatics etc., etc., and individual taste can be important with composers of complex works. Quite different approaches can still be valid, excellent performances. Choosing each symphony individually may be the way to get a collection that suits you. But it is also interersting to get sets like this, to hear a masterfull conductor's concept of the composer's intentions on interpretation is something worth considering. To analyse this complete set in any depth, would take more time than I can spare. It also would (could!) arouse a host of varying criticisms due to different ideas on interpretation. So, I am going to take another, shorter approach.

Consider. You have discovered Mahler, have pondered with buying a complete set, but that ain't cheap if you want modern recordings all with the same orchestra and conductor. - usually. So, where do you head?

Well, on the whole, Horenstein has always been my favorite interpreter. He recorded all but the second, and sadly, while well-known and respected in Europe, was less known in the English speaking world. But those who have discovered his Mahler, usually hold it in great respect (with a little inconsistency). He was the first conductor to conduct the Eighth in stereo (1959), with the largest forces ever assembled for recording this work (760) still, and the results are astounding. Having stated where my greatest preference resided, amongst a great scattering of performances, I have only two complete sets - The Tilson-Thomas series with the San Fransisco Orchestra; taken all round, it is reasonably good, with excellent engineering for the SACD releases, but they did have trouble managing a credible performance of the Eighth. It remains, in my opinion, the weakest performance in the series (and I have six versions for comparison). But it is full price, and as a set, I really would not recommend it.

Zinman is a conductor who has come to my notice in recent years with an outpouring of music with the highly accomplished Zurich Tonhalle (Tone Hall = Concert Hall, thanks to a comment) Orchestra (an excellent Richard Strauss collection comes to mind), as well as various lighter releases (especially of film music) [EDIT oops, I am thinking of something else] with the City of Prague Philharmonic , which I can't help but think might be a pseudonym for a session orchestra in England. [EDIT see a comment below] I'm probably wrong. But be it light music, or serious music, his recordings have always proved to have good performances (that Zurich orchestra is really outstanding) with top-notch engineering. And this set of Mahler symphonies is consistent with his other releases.

Now, various enthusiasts might point to assorted aspects of these interpretations, but most will end up saying that it is quite a good set overall. And remember, it is the only complete one, to my knowledge. So, if you wish to explore Mahler without paying a lot of money by exploring many recordings, this set provides reliable interpretations, with excellent playing and excellent sound. Later, when familiarity grows, you might find you want different specific interpretations of the various symphonies, but this provides a good starting place. Zinman reveals a deep understanding of the scores, the orchestra providing a polished sheen that makes me think of the Dresden orchestra. His performances of the choral symphonies are played and recorded with great transparency and balances between soloist, choir(s) and orchestra.

And I would recommend it to Mahler aficionados as well, to find that there are little-known (to us) orchestras on the continent that equal, and in some cases, are superior to the well-known orchestras from the English-speaking countries. The recordings are SACD, but have a CD layer as well and so are compatible with CD players. It's interesting, but about three years or so ago, the major labels stated they would not be releasing any more SACDs, although a trickle has been constantly emerging from Europe. Lately, I have two Sony releases from 2010, and this set is on RCA. Seems the big guys are having second thoughts. [EDIT These now appear to be among the last few. But the sound is really stunning, having the smoothness of analog].

So, I have no hesitation in recommending this set to anyone interested in the Mahler Symphonies. I don't think you will regret your purchase. All you will regret is the length of this somewhat meandering review.
22 of 24 people found the following review helpful
3.0 out of 5 stars Middle of the road content in premium package 14 Feb. 2012
By gtra1n - Published on Amazon.com
Format: Audio CD
First, I have no quibble about the price, which is more than reasonable for the size and scope of this project. And if you have a SACD player, the recorded sound is beautiful, almost on par with the incredible San Francisco Symphony SACD Mahler set (the advantage that one has is the acoustic of Davies Symphony Hall, which has a great balance between resonance and clarity for recording purposes), and better than that for Gergiev and the LSO. So if you want a SACD Mahler set, this is a good and affordable option, and there is nothing wrong with the music-making.

There's also nothing spectacular about it either, although it's often quite solid. The single word that comes to mind is 'competence.' Zinman has, through rehearsals and concerts, shaped this into an excellent orchestra, and he moves the music along steadily and sanely. He doesn't always have a lot to say, however, and listeners may prefer that, although, of course, Mahler demands that you respond to him and speak to him, that's the point of the music and of his expression.

The "Wunderhorn" Symphonies are consistently good, and the Symphony No. 1 disc includes the "Blumine" orchestral movement, which is valuable. But if that's your criteria for purchase, then I would point you to Mahler: Symphony No.1 in D Major - "Hamburg, 1893" Version of the Symphony with "Blumine" fully integrated. The Symphony No. 4 is absolutely lovely.

Mahler becomes the Mahler we know with the Symphony No. 5, and Zinman's performance is acceptable but anodyne and entirely forgettable the moment it passes. He has nothing to say about the chaos and reformation of the music, the journey from darkness to light. However, the Symphony No. 6 is excellent, the highpoint of the set. Then it's back and forth from there; a solid Seven, good Eight, forgettable Nine and a fine Ten.

I am aware, as a Mahler lover, that there is pretty much no distinction for this composer between listeners and collectors, and it's very, very hard to resist the siren song of a complete set. This one is will be hard to resist, and the beautiful sound means you will not ever regret purchasing it, even if you find that you don't pull it off the shelf as often as many others.
15 of 17 people found the following review helpful
5.0 out of 5 stars A clear first choice IF you like the Carpenter 10th 18 Jun. 2011
By Amazon Customer - Published on Amazon.com
Format: Audio CD
* Please note: I changed this review from four stars to five in July of 2012. I like the solid consistency of this cycle.

I think Zinman's Mahler cycle is better than most people think. One problem is that much of the cycle was recorded at a relatively low level, and that often times confuses people - making them think that there's a lack of tension or intensity to the performances. Turn the volume way up, and everything suddenly snaps into its proper perspective. For me, highlights include the Mahler 1 (which includes "Blumine" as an addendum); the nice sounding deep bells at the end of the "Resurrection" Symphony (otherwise, a rather too straight-forward performance); Mahler 3 (a superb performance, with perfectly gauged placement of the offstage trumpet in the scherzo); Mahler 4 up until the finale (where the soprano chosen falls short of the best ones); Mahler 6 (probably THE best M6 in scherzo/andante order); Mahler 7 up until the second half of the finale (needs to be more 'unbuttoned' in the back half of the finale, but has a truly solid peroration at the end); all of Mahler 8 except the vocal cast employed (superb sound quality with no skimping on the organ, as well as a spectacular ending to Part II); the last three movements of the 9th symphony (less so with the first movement, but still not bad), and the Clinton Carpenter 10th.

That brings me to my main point. If you want a Mahler symphony cycle - no songs included - that uses the much more filled-out and highly 'expressionistic' Clinton Carpenter version of the 10th symphony, look no further than here. Zinman has taken a lot of 'hits' for using the Carpenter version, but why would we possibly need yet another good recording of the Deryck Cooke 10th? Personally, I really like it as an addendum to the already well known Cooke version. I certainly think it's far better than Wheeler (Naxos), Barshai (Brilliant Classics), or Mazzetti's revised version (Telarc). However, that's purely a matter of personal taste.

What I really like about the Zinman cycle is a bit harder to pinpoint. It's one of the few complete cycles where I actually feel the sense that everything in it is leading up to the outrageous ending to the 8th symphony - the Beethoven's 9th of the Art Nouveau era (and possibly THE pinnacle of all of western music up to the year 1910). In other words, Zinman's cycle feels as though it has an actual purpose - a mission, if you will. Without the inclusion of "Das Lied von der Erde", you really notice the sudden drop-off to the much more personal and introspective world of the 9th and 10th symphonies. I like that too. Obviously, it would have been better if Zinman and RCA had included at least "DLvdE", or the complete "Des Knaben Wunderhorn". But such is life, and some folks really don't care for Mahler's orchestral songs. That brings me to the main drawback to Zinman's cycle: the vocalists employed.

Mezzo-soprano Anna Larsson is just fine in the Mahler 3rd. Soprano Luba Orgonasova is a bit heavy and dark sounding for the concluding Wunderhorn song in the 4th symphony (otherwise, a truly fine performance). Further more, much of the cast in the 8th symphony are a bit rough sounding, with a particularly mediocre performance from tenor Anthony Dean Griffey (the same tenor on the far more ballyhooed Tilson Thomas Mahler 8, by the way). But if one can overlook these vocal shortcomings, there's still much to enjoy in Zinman's cycle. In a sense, it's a bit like Haitink's first Concertgebouw cycle, but with a far more monumental 8th symphony (plus a 'completed' 10th). There's also the obvious difference in sound quality. Musically, I would probably rate Bernstein's original Columbia (Sony Classical) cycle over Zinman's, but the sound is certainly far better here (I don't feel so strongly about Bernstein's DG remakes).

Gary Bertini (EMI) offers better value for anyone who would rather have a solid "DLvdE" than a complete 10th. Riccardo Chailly (Decca) is better for anyone who would prefer having the Standard Cooke 10th (and a fine performance of it, at that). Michael Gielen (Haenssler) is probably better for folks who want to relish in those few moments where Mahler's writing sounds like a precursor to the so-called Vienna Second School: Schoenberg, Berg, and Webern. However, I believe that his Haenssler box is even more expensive. For me, the MTT/SFSO box is a real non-starter (in addition to almost no organ in the 8th, I would rather have no "Des Knaben Wunderhorn" than just half of it). So yes, I would take Zinman over Tilson Thomas. The best value, obviously, comes by way of either EMI's or DG's complete Mahler editions. Of those two, I prefer the choices and layout on the EMI one. Either way, you won't lose with those. But again, if you like - or think you can stomach - the Carpenter 10th, go for Zinman.
22 of 32 people found the following review helpful
2.0 out of 5 stars Not the best complete set, but certainly not the worst (see update) 8 Jun. 2011
By Fountainhead - Published on Amazon.com
Format: Audio CD
I was in Rochester in the early 80's during Zinman's tenure with the Rochester Philharmonic; at that time I found him to be a dull, unimaginative conductor, and basically wrote him off and forgot about him. Seeing positive views in recent years about his work with the Tonhalle Orchestra, however, sparked my interest enough to check out his sets of Beethoven and Schumann symphonies and R. Strauss orchestral music. I was pleasantly surprised to hear how much he's grown as a conductor, and was impressed enough to spring for this complete set of the Mahler symphonies.

Although I don't find Zinman's Mahler as a whole to be quite as successful as his Beethoven, Schumann or Strauss, this is certainly far from being the worst set in my experience. The award for that distinction would have to be given to Svetlanov, whose traversal is truly execrable and simply has to be heard to be believed. But I would also definitely take Zinman over Bertini, for instance, whose Mahler I find distressingly bland and whose high standing among critics I find totally inexplicable. However, among recent complete sets, I don't find Zinman to be nearly as successful as Tilson Thomas/SanFrancisco, either from the standpoint of interpretive imagination or of orchestral execution. In some respects, I would compare Zinman with the much earlier Abravanel/Utah; both feature objective readings by conductors with a strong structural grasp of the music, obtaining remarkable performances from less than stellar ensembles (although the Tonhalle is infinitely superior to the Utah Sym.). For me, Mahler is ultimately synonymous with Bernstein, although I can appreciate and enjoy approaches as diverse as those of Abbado, Inbal, Kubelik, Mitropoulous, and Segerstam, to name only a few. Of the performances which, like Zinman, are more objective and strive for structural cohesion as well instrumental clarity, I would put Chailly at the top of the heap.

Zinman's readings are fairly consistent throughout this set; the outstanding performance here is a truly gripping sixth, and the only really weak one is a flaccid "Resurrection". An added attraction for me was the Clinton Carpenter completion of the tenth, a fascinating piece of work which is much more aggressively inventive than the better known Cooke version, and which I believe is only otherwise available on DVD with the Singapore Symphony. Unlike some other reviewers of the individual releases, I found the sound to be generally OK but not exceptional, lacking real warmth and fullness as well as absolute clarity of detail. The packaging is attractive, with the cover art of the original single releases reproduced on cardboard slip cases. The only real problem is that those symphonies requiring two discs are housed in double slipcases requiring the discs to be removed from the inside center, a procedure which is rather cumbersome if one is trying to avoid damaging the discs. An individual slipcase for each separate disc would have been preferable. The accompanying DVD documenting the performance of the sixth is enjoyable if not particularly insightful, featuring the kind of mixture of rehearsal and commentary, both from conductor and players, which is fairly typical nowadays. However, the DVD does enable one to sample Zinman's vocal talent(?).

In sum, this is a good, if not great traversal of the Mahler cycle. I suspect it will ultimately be valued more as a document of the quality of Zinman's work with the Tonhalle rather than for any special insights into Mahler's music.

Update (3/22/12): I believe I was too kind to Mr. Zinman in this review. Recently I had the good fortune to acquire what is probably my 14th or 15th complete set of Mahler symphonies: Tennstedt and the LPO. These are recordings which I have always known about, but apart from 1 and 7, was not familiar with. It's been my loss. I've been absolutely stunned by the passion and commitment of these readings, and they have brought home the unfortunate truth that we hear so much that is mediocre these days that our ears and sensibilities can become dulled to what music making should be about. Tennstedt's recordings have reminded me why I fell in love with Mahler's music in the first place; listening to Zinman's Mahler is disheartening now. I've taken my rating down to two stars.
1 of 6 people found the following review helpful
5.0 out of 5 stars Excellent recording. 6 Aug. 2014
By Clepto - Published on Amazon.com
Format: Audio CD Verified Purchase
Grande interpretazione .Eccellente incisione.
Great interpretation. Excellent recording quality
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